Liam Mattocks
He/Him
I’m an artist who focuses on the darker side of the Catholic Church, using demonic figures as a confronting aspect to look at what the Church deemed sinful, whilst questioning what sin is, and what it means to me.
He/Him
With Good Comes Evil (2026), Etching and ink on Heritage Rag paper, 21.6 x 21.6 inches
My work focuses on the darker side of the Catholic Church. Primarily looking at things the Catholic Church historically controlled and deemed sinful, further questioning what is sin and asking the question what sin means to me. I primarily use demonic figures in my works to act as a confronting aspect as I’m interested in how using confronting, horrific subjects can portray how ridiculous these supposed ‘sins’ are.
The significance of my practice relates deeply to my family and upbringing and bringing those issues to light in a new and confronting way. I have been looking at the different ‘sins’ and creating my own versions of them, portraying the sadness, pain, elegance, intensity and beauty in ways people don’t/can’t generally understand.
The Penultimate Supper (2026), Etching and ink on Heritage Rag paper, 39.3 x 45.3 inches
The Crowning of the Anti-Christ (2026), Etching and ink on Heritage Rag paper, 45.3 x 39.3 inches
Accurate Conception (2026), Etching and ink on Heritage Rag paper, 45.3 x 39.3 inches
What is etching? How has etching defined my work?
Delicate. Yet confronting. I decided to work with a very limited colour palette. Black. Red and blue. The printing process involved in etching is slow and meditative, from the application of the ink to the methodical removal of the ink, allowing for extra texture and tones throughout each piece. Etching also allows me to create delicate yet harsh mark-making within my pieces, which is significant, as it aids my practice. It allows me to show how the demonic/confronting figures in my work can look scary and intimidating, yet, in reality, they are just representing the natural sides of human nature.
The use of etching comes from both a personal preference for the technique and a historic place. Beginning in the 16th and 17th centuries, techniques like etching were used to create highly detailed pictorial scenes. Separate plates were bound into Bibles to illustrate biblical stories for readers, hence my choice of technique.
In the lead-up to the exhibition, I have contemplated how these pieces will sit together as a body of work and how they can be installed to achieve the most effective way to interact with each piece. During planning, I have considered how the etchings should hang together in order for them to be cohesive without trying to force a clear narrative.